Today, 28 October, at the Marble Palace, Russian Museum exhibition opens Vladimir Titov . The exhibition presented 45 paintings and drawings of different years from museums and private collections in Russia, France and the USA.

Looking at work Titova domestic art in the context of recent decades, we can recall many predecessors, and "brothers" of the heroes of his works. In 1960 appeared a number of artists who have turned to the phenomenology of human and social mutations. Gnilozub O. Tsalkova , downgraded B. Pyatnickogo , Neanderthals E. Chubarova , freaks V. Yankylevsky , rowdy revelers V. Kalinin - the artists involved in modeling property, copyright population of their canvases. At the end of the Soviet power, during the adjustment period and a new wave "painting mutations, capturing even the outstanding master of the official art G. Korzheva . The anthropological vision - a constant term in our culture, a painful sharpening from time to time: in 1960 the Soviet perceived as "anthropological catastrophe", in the 1980 collapse of the Soviet perceived by many in the same eschatological context.

Titov was the youngest sibling of the first generation of painters mutations, ideologically divided them feeling the catastrophic Soviet physicality. He entered the circle B. Pyatnitskiy, attended classes literary and philosophical circles Yu Mamleeva, imbued with the spirit of the landmark book generation - the poem "Moscow - Cockerel V. Erofeev, which was later illustrated. However, in the early canvases Titova do not have that disfigures and dehumanize the Soviet, which rebelled against the "painters mutation" the first wave. In his case under the "Soviet" refers to a specific time: the restructuring, the period of complete collapse of the foundations, the era of dying. He depicted the dilapidated high-rises, the frozen construction site, burrowing into snowdrifts car, townspeople, similar to the shadows - pictures climax of depression, "lead abomination" of everyday life ( "Winter Landscape", 1987, "Christmas card number 1", 1989).

But Titov quickly rejected the depictions of the Soviet-wretched, on naturopodobiya and moved on to a certain universals. In his works he has created a very special, Tito, the population of the inhabitants of the bottom. This is not the mutants, they are people, albeit with a disposition to mutation, it is creatures, even if flawed physicality. This Russian bums, French clochards, American bamy. Their habitat is transnational: slums - slums everywhere, floor - everywhere the bottom, and only the inscription - in Russian, English or French - give some kind of binding to the terrain.

Tito creatures surprisingly viable. Characters of recklessly indulge his uncomplicated pursuits: drinking, chatting, twirling love ( "Kiss", 2006), even dancing ( "Bolero", 1995). Life does not indulge them, sometimes bringing to the brink: they can freeze and starve, but never lose yourself. They have their space (from here - part of the inscription with the word private, even in the trash). However, the characters themselves Titov and prone to expansion and easily adapting to other people's territory (a series of "Money", 2000-2001, in which homeless people swarmed on the surface of the post-Soviet banknotes).

reflected in the artist and his frequent trips to Russia's countryside. Heroes Titova in this situation refuse to universality, and they felt, according to Yu Mamleeva, "uterine-Russian". They are working hard to provide (this is clearly not the "field workers"), but they are very natural to look at these fields: absurd physicality heroes Titova rooted in the untidy, neglected land ( "Road", 2007, "Breakfast on the Grass, 2005).

And now, in times of crisis, concerns were raised many issues of existential, existential plan, an exhibition of Vladimir Titov is particularly timely.

Source: mkrf.ru